Tuesday, June 24, 2025

Winner of design for Memorial to Queen Elizabeth II announced

Today, the winner of the five shortlisted ideas for a permanent memorial to HM Queen Elizabeth II, who reigned for longer than any other UK Monarch, has been announced. 

Very much NOT just about a Queen sat on a horse!

Today we found out who won after an opportunity for the public to comment on the five shortlisted proposals.

The winner is Foster + Partners (designer of very big iconic projects) 

To date the process has been as follows:

This is about memorialisation as environmental art and architecture together with story-telling combined with restatements of important values and the importance of connections. Hopefully it will also involve top class project management which will get the project completed as fast as possible - as this is a very popular public park.

It's a very BIG project!
"This is about an extraordinary woman and an extraordinary reign, about her commitment to public service, her duty, her commitment to the community, to the nation and the Commonwealth" Baroness Amos, member of the The Queen Elizabeth Memorial Committee

I am left wondering whether the 4th Plinth in Trafalgar Square is no longer reserved for the Queen on a horse given this Memorial is going to be so much bigger and better!

Why did the Foster + Partners team win?


The Queen Elizabeth Memorial Committee’s selection panel found Foster + Partners’ design, balancing formal and informal elements, impressive and capable of creating an engaging landmark to endure for generations to come. The panel also valued Foster + Partners’ artistry, use of space, technical skills and their sensitivity to the memorial’s location.

The winning team also includes artist Yinka Shonibare and celebrated landscape designer, Michel Desvigne.

Where will the memorial be?

St James's Park will be home to the new Memorial and will be a hive of activity for however long it takes to complete.
This is the most royal of London’s Royal Parks. Shaped by generations of monarchs and bordered by three royal palaces, St. James’s Park is the home of ceremonial events in the capital. From royal weddings and jubilees to military parades and state celebrations – this is the park where history is made. Royal Parks

Map of the site within St James's Park
note how close it is to both Buckingham palace and government
The permanent memorial to the country's longest-reigning monarch will be placed in St James's Park, very close to Buckingham Palace and the Mall - the place for ceremonial and commemorative parades - in central London
This diagram (below) by Foster + Partners indicates how big the memorial will be reaching from The Mall through St James Park, across the Bridge and through to Birdcage Walk.

Open in a new tab to see an even bigger version.....

Diagram of how the scheme will work as a new pathway across the Park
Foster + Partners

What will the QE2 Memorial comprise? 

READ MORE......>>
Posted by Making A Mark on Tuesday, June 24, 2025 0 comments
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Monday, June 23, 2025

Two art exhibitions in London worth visiting open this week

There are two art exhibitions opening this week in London. I'm guessing both are being hung right now. You can find all relevant details below about:

  • Contemporary British Portrait Painters Annual Exhibition 2025 - in Brixton
  • Society of Women Artists Annual Exhibition 2025 - at the Mall Galleries
Which means, for this week only, for those needing a train ticket, you get more than one exhibition worth visiting if you visit between Thursday and Saturday!

Contemporary British Portrait Painters Annual Exhibition 2025


All the artists at the Private View last year

To date, the CBPP have held two exhibitions in 2022 and 2024 both in Brixton - but they seem to have switched up a gear and seem to be now going for an annual exhibition.
Anybody who is
  • EITHER aspiring to either become a contemporary portrait painter
  • OR wanting to commission a contemporary portrait from one of the leading portrait painters in the UK
would do well to visit the latest exhibition of the artist collective known as the Contemporary British Portrait Painters.
What I said last year after visiting the exhibition
Their exhibition space is actually very spacious and allows for a good hang. 

The Department Store, 248 Ferndale Road, Brixton
(you just have to get round all the parked bikes!)

Details are as follows:
  • Venue: Downstairs at The Department Store, 248 Ferndale Road, Brixton, London SW9 8FR. The nearest station is Brixton (on the Victoria Line)
  • Exhibition runs: Thursday 26th June - Thursday 5th 5 July, 
  • Hours: 10:00 AM - 5:00 PM
  • Admission: FREE no booking required.
It's also one of the more co-operative and relaxed exhibitions. It's got many of the artists I see on a regular basis each year - either at the Royal Society of Portrait Painters or the Portrait Award at the National Gallery or on television in Portrait Artist of the Year. By which I mean, this is an excellent exhibition.

Five winners of Portrait Artist of the Year at the CBPP Exhibition in 2024

My previous posts are:
READ MORE......>>
Posted by Making A Mark on Monday, June 23, 2025 0 comments
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Monday, June 16, 2025

Review: New English Art Club Annual Exhibition 2025

I think it's time for a wake up call for NEAC. I'm guessing quite a lot of what I'm going to say may be thought to be complete heresy - but I'm saying it anyway, because everybody is entitled to an opinion.

When I went to the NEAC Private View for its Annual Exhibition I had a big surprise. 

NEAC Annual Exhibition on PV night

The previous week I had been in and out of the 40th Annual Exhibition of the Society of Botanical Artists which looked amazing in the Galleries. They hung 466 artworks in just the West and North Galleries - themed by subject matter and colour - however most artworks were small or medium size with some large mediums. 

Prior to that I'd visited the Annual Exhibition of the Royal Society of Portrait Painters - which was a really impressive looking exhibition - showing a reduced number of portraits (210 artworks hung) generally as a single row for larger works which shows them to best effect -  and appropriate to those likely to commission future portraits. It was a very classy shop window for what their artists can do, some of which can be large.

I walked into the NEAC Annual Exhibition and my eyes were assaulted.  (Check out the banner image on their exhibition page link)

I saw the complete opposite of the two described above.
  • there is a huge variety of styles - which is to be expected and nothing wrong with that.
  • however artwork was stacked high and close together - making it look very busy. 
    • This is a function of how many artworks were selected AND, very importantly, how big they are. 
    • I think this maybe dates back to the days when NEAC members liked to think of themselves as budding RA members, despite the fact the society was founded by a group of artists dissatisfied with the entrenched attitudes of the Royal Academy - (where the art was piled high in the Summer Exhibition).
    At the heart of the NEAC is the search, propagation, and education of meaningful and resonant art. It is committed to authenticity through the observation of life, as well as the task of articulating and communicating these ideas, with the beauty of skilful language. At the same time, it strives to keep alive the ideals and ethos of its history. About NEAC
  • There are 389 paintings hung in the show - whereas there are rather a lot of big to VERY big paintings 
    • which made the hang seem VERY crowded to me. 
    • I thought back to the extremely good looking recent exhibition by the Royal Society of Portrait Painters - who also hang big portraits - but they had fewer works hung. 
A very large artwork on a wall where several are very often hung.
  • Lots of artworks were VERY colourful - which is so much better than dull and drab.
  • HOWEVER those colours include lots of red and orange - which can be major league "thugs" if there's too much in one painting or in paintings adjacent to one another. Particularly when groups of paintings by the same artist are hung together.
    • Bottom line too much red and orange can behave rather like the bully in the school playground whose every move is “look at me”. 
    • They shout out and can totally drown out other artworks nearby. I almost always feel extremely sorry for any artist whose quieter work gets hung near a thug.  That's because it's always had its hang dicatated by the thug.
    • There’s a reason why such "thug" paintings in museums are almost always hung with LOTS of space around them - which is not the case in this instance.
    • to hang them close to other artworks you have to choose more subdued works which then disappear into the wall when surrounded by colourful "thugs". That painting of a garden is beautiful but stands no chance next to the paintings either side. I like subdued and subtle work, which works through a range of tones - but it's been skied and cannot be studied closely - as it deserves-  in this exhibition. It's playing a subordinate role - more's the pity.
    • I'd put all the visual thugs together in a small room and let them fight it out and "get the message"!
    • PS Don't get me wrong - I love colour - but I'm not fond of visual headaches!
Vibrant colours down more subdued and subtle paintings

In this instance the very colourful artwork gets more subdued artwork either side

What could have been a nice wall of landscapes
- except another red thug needs some more subdued paintings either side

Interestingly NEAC used to regularly hang over 400 artworks in their annual exhibition - but they were typically better organised and less thuggish. While they have always had large artworks, I think some of the large artworks have got much bigger.
Our Annual Exhibition is a showcase not only for its members but also for aspiring artists: with a history going back more than a hundred years, it is an opportunity for work to be seen alongside some of the best artists painting today, held at Mall Galleries in London. About the New English Art Club
The selection and the hang also gives me a feeling of this being a somewhat pretentious exhibition.

I actually left the PV early because I found the experience of the way the exhibition was hung - combined with the number of people at the PV to be just TOO MUCH for me personally. 
  • It was an assault on the eyes and ears at the same time - and I very much dislike that. 
  • I like to look at art when it's quiet. I doubt if I'll go to another NEAV PV.
For the record I much preferred how the large artworks were dealt with by the hang in 2023.
When I walked into the Private View of the Annual Exhibition 2023 of the New English Art Club (NEAC) yesterday, I was immediately struck by the new approach to hanging the exhibition in the East Gallery (2023 Review)
However, given I always write a review and have been doing for the last 18 years  I went back on Monday to have another look in a quieter environment. 
(see the end for links to all my past reviews of NEAC Annual Exhibitions over the last 18 years - going back to 2007)

I had another surprise - namely all the artwork I could not see at the PV because of bodies!

The need for NEAC to have a BIG Rethink



I think NEAC needs to have a VERY long hard rethink its annual exhibition
Specifically about :
  • their approach to private views
    • I remember when they used to have Buyers Previews (which were for those, like me, who prefer a quieter environment when they can see the artwork before they buy it)
  • the size of artwork to hang in their exhibition
    • I'm thinking of doing an exhibitions metrics post for this exhibition which will relate size to price to sales. Should be interesting!
  • the price of artwork hung in their exhibition
    • there are some artists who sell well elsewhere and on commission - and they aren't going to sell anything at this exhibition unless they paint small - but just because they need to price high doesn't mean everybody else should!! I'd want to see verifiable records as evidence for all those pricing above £2K
In 2023, the Number of artworks sold by price range include
over £2K is just 10% of those hung
over £5K is ZERO
Under £500 is 31% of those hung
priced between £750-£1,000 is 24%
priced between £1K and £1.5K is 23%
  • how many artworks a member can submit i.e. the space given to artists
    • one very large artwork = 4 medium sized artworks. Is that fair?
    • retail prices everything on space - why not exhibitions?
  • an artist's track record on sales relative to the space they get
    • Everybody needs to make money from the exhibition - to keep the gallery and the society going and to make artists' careers worthwhile - and able to afford their membership fees!
    • Anybody thinking open artists are just "pleased to get hung" hasn't been studying the commercial realities of late. 
    • a commercial gallery would be looking at ANY artwork from a commercial perspective - and why should it be any different in the Mall Galleries or NEAC for that matter?
      • can you keep hanging artists that never sell? Independent Fine Art Galleries not far from the Mall certainly wouldn't.
    • I am amazed again and again when I ask leading members about sales how totally  unaware they are of their own society's exhibition metrics
  • the lack of ANY price guidelines to BOTH members and open artists - resulting in some interesting insights post exhibition

Specifically they need to think long and hard about what they want the exhibition to look like and how they want to present it.

So, for example, if they want more bigger works then 
  • they need to hang less and 
  • do very much better marketing to people who have the houses big enough to hang them and the funds to buy them 
Bottom line - do artists really think that those who visit the Mall Galleries have houses big enough to have space for work like this? 

I've not seen big paintings sell at the Mall Galleries for quite a while.

Back when Lewis McNaught was Director, I seem to remember there were rather more evening functions for institutions in the City - and there were rather more people visiting the space with the funds to buy big paintings.

I'm not seeing large paintings sell well - or at all - this year either.

I'm puzzled by the rationale of artists producing big paintings 
  • Lots of very big paintings are unlikely to sell. Would they have submitted them if 
    • open artists had to pay the going rate for the wall space they occupy? 
    • members were limited as to the space they can occupy? (eg x square metres)
  • The only paintings which are selling are small. I've counted (twice)
From my perspective big paintings simply reduce the scope for more smaller paintings and add nothing to an artist's career if they don't sell.  This isn't the RP Exhibition with a commission room at the back of the North Gallery!

Prizes & Awards


You can see the artwork which won prizes and the names of the artists who won on this page on the NEAC Website

Interestingly they neglect to include the size and the media and the price.

A Major New Climate Emergency Prize


The exhibition for this is in the East Gallery with every artwork having a green Climate Emergency Prize label

Winner of the Climate Emergency Prize (£2,000)
Reduce Speed Now (Self-heal, Fipronil & Glyphosate) by Nessie Ramm
Oil on aluminium road sign, 120cm x 130cm

I was extremely disappointed to see that the winner of this major new prize has an absolutely  TINY label to announce the prize. Plus it is absolutely impossible to tell who had won as it looked absolutely identical to all the other labels 

I'm particularly gutted as I chaired the panel of judges who gave Nessie Ramm an SBA Fellow Grant to help her exhibit her roadwork verges paintings on traffic signs last year. She deserves better.

Also, if you’re going to have a prize why not hang them all together? It came across as a half hearted hang giving a strong sense of they started focused and then gave up! 

The Artwork

Like last year, the people at the PV and the artwork on the walls is looking different. 

A lot of the artists I started out with many years ago are no longer with us. 
four paintings by Judith Gardner (1952-2025)
who is still winning prizes!


Artworks included the following media:
  • paintings - in oils, acrylics, gouache, watercolour, and egg tempera 
  • drawings - in charcoal, pastels, conte, colour pencils, graphite, pen and ink and mixed media
  • fine art prints (very few) - etching, aquatint, wood engraving, 
In terms of the type of art
  • Nearly 50% of the artwork is landscapes and it's well over 50% by the time you add in marine and coastal scenes.
  • 22% are still lifes and interiors
  • 15% are portraits and figures
You can see albums of my photos of the exhibition on Facebook
East Gallery - on Facebook

Paintings

What I do know is well received are:
  • paintings by artists like Melissa Scott Miller - of places people know and which are colourful and cheerful but much less “in your face” and a much more "hangable" size
  • rather a lot of paintings by women painters who are becoming very old - but are still painting. People like June Berry (now 100 years old) and Jacqueline Rizvi (now 80) 
A Quiet Street by June Berry

Still Life with Chinese Teapot by Jacqueline Rizvi
  • small paintings - by those with limited wall space left!
I liked these two sets even more for the fact they were the complete opposite of visual thugs!

two very plain landscape structures by Sarah Granville NEAC

and 
Two landscapes in egg tempera
by Christine Allman
- the third sold early

Drawings 

There seem to be many fewer drawings than I’m used to seeing in the past. 
  • Was this be because they hung large drawings? 
  • Multiple instances of thugs hung next to more delicate work as if the latter does not matter
  • however there were exceptions - such as the suite of drawings by Felicity House (now 75) who won two drawing prizes.
Watercolour and pastel drawings by Felicity House

Sketchbooks on display in the East Gallery
Sketchbooks

One excellent aspect of this exhibition is the attention to exhibiting as many sketchbooks as possible in both the East and North Galleries

Reference: Past blog posts about NEAC Exhibitions


Below you can see my reviews in previous years
I've been trying to work out how to word this review of the 2013 Annual Exhibition of the New English Art Club 2013. It might more accurately be described as a post mortem.

I've come to the conclusion that it's best just to highlight a salutary tale which is relevant to all art societies. They all have their ups and downs - and this is a tale of a big dip. Review: NEAC Annual Exhibition 2013
Posted by Making A Mark on Monday, June 16, 2025 0 comments
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Sunday, June 15, 2025

Want to watch Landscape Artist of the Year being filmed?

Filming has started on Series 11 of Landscape Artist of the Year which will be broadcast between January and March 2026.

Derwent Water is next week
Best View yet - by a long way

For those curious as to how it is going and for those who maybe want to go and watch, this is what I've found out so far. (They've stopped sending me press releases!)

Of the locations they have identified 5 are about 

5 Very BIG Structures 

  • Dover Castle, Kent
  • Dover Ferry Point, Kent
  • The Thames from HMS Wellington, London
  • The Ouse Valley Viaduct, West Sussex 
  • Falkirk Wheel, Scotland

3 Actual Landscapes!

  • The Lake District, Cumbria (two heats) - actual real landscape as painted by very many landscape painters - but BIG!
  • St James’s Park, London - actual land which is green - small and manicured and a lake with a lot of birds on it!
BELOW you can find out where the heats are and which date they are filming - although some of this is guesswork.

Heat Locations


Locations of "public" heats are as listed in this marketing image


They say they are 
unable to accommodate audiences at the other locations due to the lack of parking and facilities. 
However every single one of them is a public space - so, if you fancy, you can ignore that if you can work out how to get there and where local facilities might be located.

I can't work out whether they mean this is what they are ALSO telling the wildcards to do!

Last week: Dover Castle, Kent and Dover Ferry Point, Kent


Given they split up the locations during the series but do them at the same time while filming I'm assuming there were two heats at Dover was last week
  • a view of Dover Castle
  • a view of the ferryport from the cliffs!
Here are some of the photos from social media!  Some of those pods look somewhat precarious. I wonder what the insurance was like after the risk assessment exercise?


Next week: Crow Park, Keswick in The Lake District / Cumbria


Two days in the Lake District - on Wednesday18th and Thursday 19th June means two heats.

You will recall that last year, they went to Wales and maybe moved the pods about half a mile to get a different perspective on the same place. 

Here's the Google Maps reference for Crow Park which appears to overlook Derwent Water.

Plus see the photo above of the view from Crow Park over Derwent Water.

I envy anybody who gets that view.

Remember - the sites they use will ALWAYS be an expanse of flattish land big enough for eight sizable pods.

Wednesday 25th June: St James's Park


St James Park - the Lake View, with trees (2008)

What I do know is that anybody getting this heat better be good at trees!

There are various places they could theoretically set up the pods in St James's Park - however they also run the risk of causing an obstruction for the other people using the park.. 

 Those who have sketched or plein air painted there will know the places to "go to". I'm assuming it's probably going to include water as it's a bit silly going to a park with a great big lake and then ignoring it.  Just as you can hardly ignore the trees....

See, for example, my blog post about Capturing the Moment - plein air paint out in St James's Park organised by the British Plein Air Painters.  I'd so like them to turn out en masse and NOT be wildcards and paint what they want to paint....

I'm including a couple of sketches I did back in 2008 (above and below)

St James Park - Tree Study #3 (8th October, 6pm)
8.5" x 11", coloured pencils in Daler Rowney sketchbook

However it's going to be absolutely swarming with tourists - who all love a camera! You can't move in London at the moment for school trips and families all speaking every language under the sun! 

I do not envy those who get this heat!  But I might go and watch!

Thursday 26th June - The Thames from HMS Wellington, London

I think it's a fair bet that if they're in London with the pods on Wednesday then on Thursday those pods will have been erected somewhere else in London and the crew will be working two days back to back with the pods etc - which means that Thursday will be the date for the other location they've already announced

Which is The Thames from HMS Wellington, London - and below is HMS Wellington - moored on the north side of the Thames inbetween Waterloo Bridge and Blackfriars Bridge. 

I don't know if they're going to put the pods on the boats - but it strikes me that could be problematic!

HMS Wellington, 
HMS Wellington is a Grimsby-class sloop, formerly of the Royal Navy. During the Second World War, she served as a convoy escort ship in the North Atlantic. She is now moored alongside the Victoria Embankment, at Temple Pier, on the River Thames in London, England
I wouldn't be at all surprised if the wildcards are on the bridges... Maybe with a few others?

I am speculating. They're not saying. However all the land either side of the river and along the bridges is public - and this is very much a public location . However it's next to the Embankment and a very busy road so common sense dictates that they won't be encouraging people to attend next to the boat. There again they can't stop them either...

HOWEVER, the irony is THAT there is a MUCH MUCH BETTER view from the "made for LAOTY filming" area exactly on the opposite side of the river on the South Bank.

The view from the other side of the river
You can see St Paul's cathedral and all the towers in the City of London
as well as an excellent view of the bridges

SEMI- FINAL

(I'm guessing! Wednesday 2nd July) - The Ouse Valley Viaduct, West Sussex

There are always two locations which are isolated from the others. Which means 
  • one is the location for the semi-final and 
  • the other is the location of the Final.
Since they're telling us the Final is in Falkirk, I'm making the reasonable assumption that the semi-final is in West Suusex.

The Ouse Valley Viaduct is another ridiculous structure - which is only outdone by the ridiculous structure for the Final!
The Ouse Valley Viaduct
A structural marvel, the viaduct was originally built in 1838 to carry the London-Brighton line over the River Ouse.

It has been estimated that around 11 million bricks were used in construction, with almost 17 million passenger journeys being made across the viaduct every year!

It strikes an elegant silhouette over the beautiful High Weald area and is a must for all photography fans. Standing at 29 metres tall, the Viaduct has 37 arches stretching 450 metres across the Ouse Valley and over the River Ouse. Ouse Valley Viaduct, Visit South East England Website
Basically it's halfway between Crawley and Hayward's Heath.
  • This is the location - link from Google Maps
  • Also described as Haywards Heath Road, Balcombe, Haywards Heath, West Sussex, RH17 6QP.
The date provides for three clear weeks before the Final on the 23rd - during which time the finalists have to product their commission artwork. (as in "find a really silly view near you and paint it")

THE FINAL

Wednesday 23rd July - The Falkirk Wheel

That's a horror story of a subject for a Final. 
Sue England (Series 5 LAOTY 2019) was given the Falkirk Wheel as the subject for her commission painting prior to the Final proper (see Fujiko Rose won Landscape Artist of the Year 2019 in Final at Battersea Power Station). I remember then thinking how unlucky she was. There again - at least she got to choose how she portrayed it and from what angle and how much!

The Falkirk Wheel, Scotland

But it gets better - the producers are complete sadists! IT MOVES!
Threre's a canal at the top and a canal at the bottom. At rest, the wheel sits with a gondola at each level, filled with water. Barges sail in, and the water relevels, but due to Achimedes' principle, the weight in the gondolas remains the same. The wheel, in perfect balance, is turned by a small electric motor (same power requirements as a few teakettles, we're told) and the gondlas stay level thanks to wheels within the wheel. The rotation takes 5 minutes, and then the barges sail ou

So, if you were applying for a heat, I wonder which you would choose......


More about Landscape Artist of the Year
on MAM and by participants

Series 11 - to be broadcast early 2026

Series 10 - broadcast early 2025

Posted by Making A Mark on Sunday, June 15, 2025 0 comments
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